On 4/5/06, Jack Carroll <[EMAIL PROTECTED]> wrote:
>         Also, it would get rid of an expensive and bulky piece of field
> recording equipment: the snake.  Instead of a passive connector box on the
> stage, connected to the recording engineer's station by hundreds of feet of
> large, heavy, and expensive custom multichannel shielded cable, there would
> be a little Cat 6 Ethernet cable running from the engineer's console to an
> active A/D conversion unit on stage.  Even better, a media converter box to
> change between UTP and free-space optical communication would get rid of the
> whole hassle of laying a cable the length of the auditorium and having the
> audience walk on it or trip over it.  I envision a box with some 1/4" jacks
> for direct mike input, and some digital input jacks for digitized stage
> mikes.  Input boxes should be chainable through the Ethernet interface, so
> that channel expansion is just a matter of plugging more audio input boxes
> into the hub.
>         This piece of gear could outlive many generations of computer
> technology.  It wouldn't need drivers as such; just a set of standards for
> the protocols to be used over Ethernet.  This makes it a lot easier to
> support as a cross-platform peripheral.  Since multichannel audio recording
> is fundamentally time-division multiplex, TCP/IP doesn't really belong in
> the system.  ATM over Ethernet might be a better fit.  Running multiple
> digitizer boxes over a single subnet would be basically a problem in time
> slot assignment.

>From my understanding Deutsche Grammophon has been doing something
like this for about 12 years now and I wouldn't be surprised if all
the major labels have caught up especially since Univeral bought up
most of the recording landscape.  As for that non-classical, non-art
music stuff, who cares.  It's all digital from the begining and
compressed up against 0 db anyway. (-:


Justin
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